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William wordsworth influence on romanticism
William wordsworth ideas about poetry
William wordsworth influence on romanticism
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Wordsworth and Vaughan
When reading T.S. Eliot’s critical comment, “It is to be observed that the language of these poets is as a rule simple and pure,” one might assume that he was referring to the Romantics (Eliot 2328). Specifically, we could apply this statement to poets the ilk of Wordsworth, who eschewed poetic affectations and “tricked out” language for sentiments that originated and flowed naturally (Wordsworth 270). Yet Eliot hadn’t focused his critical eye there, this time. Rather, he squinted a century back to a lesser-referenced literary group, the Metaphysical poets (Eliot 2328). That the Metaphysical poets and the Romantics share a characteristically simple/natural diction is important. While they are undoubtedly distinct schools, if we can show that they are even remotely stylistically similar, then we might have grounds to acknowledge similarities between a poet from each, respectively. Thus, I propose considering Wordsworth in relation to an earlier man, Henry Vaughan.
I am not the first to do so; much has been said of the link between these men regarding their analogous poems “The Retreat” and “Ode: Intimations of Immortality”—by comparing them I cannot claim any original insight. However, there is more common to these two men than two poems, and in analyzing what Wordsworth desires from poetry and the poet in his “Preface to the Lyrical Ballads” we see that Vaughan had many of the poetic qualities Wordsworth demanded of himself. Even more interesting, Wordsworth's shifted perspective from “Lines Composed a Few Miles Above Tintern Abbey” to the "Elegiac Stanza" replicates Vaughan's shift from "To Amoret" to "The Night." Where Vaughan’s verse originally addressed worldly love and natural ...
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...h happiness, wherever it be known, / Is to be pitied; for ‘tis surely blind” (lines 53-56). In these lines, Wordsworth finally counsels that the human world is actually not so near-sighted. Rather, when a man assumes himself separate from mankind—when he reinforces that separation—he actually blinds himself. So finally, the comparison between Vaughan and Wordsworth is not absolute. However, sorting through the words of men who’ve been dead for centuries for evidence of a literary association beyond mere coincidence is never and easy undertaking. But let us assume that, if Wordsworth was right, both he and Vaughan shared universal human experiences. Perhaps, upon reaching a certain middle age, they also shared fear and awe of the conditions of their mortality—and if one may have looked to the other’s words for poetic guidance, the poetic genre is better for it.
Everett, Nicholas From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamiltong. Oxford: Oxford University Press, 1994. Copyright 1994 by Oxford University Press.
...t P. and Stanley B. Greenfield, Old English Poetry: Fifteen Essays, Providence, RI: Brown University Press, 1967
G. Ed. The Norton Anthology of English Literature: The Romantic Period. New York: Norton, 2000. Barth, Robert J. Romanticism and transcendence: Wordsworth, Coleridge, and the Religious Imagination. Columbia: University of Missouri Press, 2003.
Furthermore, Wordsworth’s assertion of feelings as the effects of an action or a situation, which means that actions should influence the emotions of the character and not the other way around, is dissimilar to The Raven’s character’s feeling of desperation in which he succumbed to his distress. However, the lesson derived from the bizarre workings of the human mind in preferring more devotion to the pain for the sake of “preserving the memory,” as “The Raven” illustrates, exposes to us how a particular person behaves towards grief. The statement thus proves in relation to Coleridge’s statement of the readers’ elicitation of the poem is more significant than the poem itself (in reference to his emphasis on the importance of the “Return”). Another variation between Wordsworth and Coleridge is that the former claims that the writer must bring the language near to the language of men, whilst the latter believes that the language of poetry should beautiful and elevated. “The Raven” in this case
1 Modern Poetry. Third Edition. Norton. I am a naysayer. 2003. The 'Secondary' of the 'Secondary' of the Williams, William.
Reisman, Rosemary M. C, and Robert L. Snyder. Romantic Poets. 4th ed. Ipswich, Mass: Salem
Written on the banks of the Lye, this beautiful lyric has been said by critic Robert Chinchilla to “pose the question of friendship in a way more central, more profound, than any other poem of Wordsworth’s since ‘The Aeolian Harp’ of 1799” (245). Wordsworth is writing the poem to his sister Rebecca as a way of healing their former estrangement.
One of our greatest fears is the fear of death. Immortality is something any of us would take in a heartbeat, so we do not have to face death. But this is something that we cannot run away from. Mortality is an unpleasant thought that sits in the back of our minds form our day to day lives. Yet, this fear is something that is developed more over time as we grow older. Children believe that the world is such a wonderful place, they fell invincible. They also have wonderful creative skills and imaginations which is often revealed to us when they can play one game for hours at one time. Yet, as a child ages, this imagination and creativity can disappear. This is what William Wordsworth is terrified of. Wordsworth is an English poet as well as his colleague Samuel Taylor Coleridge published the first edition of Lyrical Ballads and it changed everything as mentioned Evelyn Toynton, “In early 1798, Coleridge and a little-known poet named William Wordsworth decided to publish a joint volume of their poems.” (Toynton, Evelyn). William expressed this fear of premature mortality of the imagination in each of his works, Lines Composed a Few Miles above Tintern Abbey, The Prelude, The World is Too Much with Us, and London, 1802.
Wordsworth begins the journey into "Tintern Abbey" by taking the reader from the height of a mountain stream down into the valley where the poet sits under a sycamore... ... middle of paper ... ... together even after his death. Over two hundred years after it was written, "Tintern Abbey" continues to uphold the essence of William Wordsworth's beliefs and continues to touch the emotions of its readers. Even though, here in the twenty-first century, the term real-world has a connotation of life in the fast-lane, the real world - the natural world - of Wordsworth's time still holds a place of eminence both in literature and in the hearts of its readers.
Thomas Stearns Eliot was not a revolutionary, yet he revolutionized the way the Western world writes and reads poetry. Some of his works were as imagist and incomprehensible as could be most of it in free verse, yet his concentration was always on the meaning of his language, and the lessons he wished to teach with them. Eliot consorted with modernist literary iconoclast Ezra Pound but was obsessed with the traditional works of Shakespeare and Dante. He was a man of his time yet was obsessed with the past. He was born in the United States, but later became a royal subject in England. In short, Eliot is as complete and total a contradiction as any artist of his time, as is evident in his poetry, drama, and criticism.
Rundle, Thomas J. Collins & Vivenne J. The Broadview Anthology of Victorian Poetry ad Poetic Theory. Concise. Toronto: Broadview Press Limited, 2005.
"The Poetry of William Wordsworth." SIRS Renaissance 20 May 2004: n.p. SIRS Renaissance. Web. 06 February 2010.
Yeats and Eliot are two chief modernist poet of the English Language. Both were Nobel Laureates. Both were critics of Literature and Culture expressing similar disquietude with Western civilization. Both, prompted by the Russian revolution perhaps, or the violence and horror of the First World War, pictured a Europe that was ailing, that was literally falling apart, devoid of the ontological sense of rational purpose that fuelled post-Enlightenment Europe and America(1). All these similar experience makes their poetry more valuable to compare and to contrast since their thoughts were similar yet one called himself Classicist(Eliot) who wrote objectively and the other considered himself "the last Romantic" because of his subjective writing and his interest in mysticism and the spiritual. For better understanding of these two poets it is necessary to mention some facts and backgrounds on them which influenced them to incorporate similar (to some extent) historical motif in their poetry.
When a man becomes old and has nothing to look forward to he will always look back, back to what are called the good old days. These days were full of young innocence, and no worries. Wordsworth describes these childhood days by saying that "A single Field which I have looked upon, / Both of them speak of something that is gone: The Pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream?"(190) Another example of how Wordsworth uses nature as a way of dwelling on his past childhood experiences is when he writes "O joy! That in our embers / Is something that doth live, / That nature yet remembers / What was so fugitive!" (192) Here an ember represents our fading years through life and nature is remembering the childhood that has escaped over the years. As far as Wordsworth and his moods go I think he is very touched by nature. I can picture him seeing life and feeling it in every flower, ant, and piece of grass that crosses his path. The emotion he feels is strongly suggested in this line "To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears." (193) Not only is this showi...
William Wordsworth has respect and has great admiration for nature. This is quite evident in all three of his poems; the Resolution and Independence, Tintern Abbey and Michael in that, his philosophy on the divinity, immortality and innocence of humans are elucidated in his connection with nature. For Wordsworth, himself, nature has a spirit, a soul of its own, and to know is to experience nature with all of your senses. In all three of his poems there are many references to seeing, hearing and feeling his surroundings. He speaks of hills, the woods, the rivers and streams, and the fields. Wordsworth comprehends, in each of us, that there is a natural resemblance to ourselves and the background of nature.